45 pages • 1 hour read
Josh MalermanA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In the later timeline, Malorie wonders about the entities that caused the Problem. She debates various terms for them, including “demon,” “villain,” and “monster” (52-53). The Boy interrupts her, saying that he hears engine noise ahead of them.
A motorboat approaches and stops when it is near them. A man’s voice calls out, telling them that there’s nothing to fear and inviting them to remove their blindfolds. When Malorie refuses, he becomes angry and admits that he saw one of the creatures. As Malorie attempts to move away, her boat is temporarily caught against his. The man calls Malorie insane as he becomes increasingly incoherent and aggressive. Malorie manages to free her boat. She and the children hear the man howl as they move away downstream. Malorie thanks the children for keeping their blindfolds over their eyes.
In the earlier timeline, two weeks pass. Most radio stations go off air, and Malorie feels claustrophobic stuck in the house. One night, she and the others throw a party, though Malorie refrains from drinking or smoking since she is pregnant. Cheryl interrupts Tom, who is playing piano, to tell everyone to listen to Rodney Barrett, the last active radio DJ. After rambling for a few minutes, Barrett states that he intends to “take [...] the one thing I’ve got left that you can’t take from me” (60), before shooting himself.
Moments later, they hear a knock on the door. From outside, a woman introduces herself as Olympia. Tom and Felix argue with Don, who opposes admitting another person into the house, given their limited supplies. Overruling him, they let Olympia in and feel around her with brooms before opening their eyes. Olympia, who is four months pregnant, explains that her husband went missing weeks ago. She decided to come over after she heard the piano.
In the later timeline, Malorie recalls teaching the Boy and the Girl how to wake with their eyes closed, how to retrieve water from the well, and how to track her movements by sound only. She imagines that Tom would approve.
A few hours after passing the man on the boat, the Girl asks whether he is the man whose voice sang on a cassette tape they listened listen to; Malorie reminds her not to speak unnecessarily. The Girl and the Boy tap Malorie, asking for food; she gives it to them and wonders whether she is a good mother.
In the earlier timeline, Olympia takes a room next to Malorie’s, vacated by Felix. As the others work, sleep, or play, Malorie asks Tom about George, the owner of the house, who placed the ad in the newspaper. Tom explains George was “progressive, a big thinker” (68). George came up with schemes and plans that he hoped would allow him to safely look at the creatures.
One day, George tested his theories by recording hours of outdoor footage on a video camera. Over Don’s objections, George convinced the others to tie him down in a chair and let him watch the footage in a separate room. As he watched the footage, George’s behavior became erratic. He bled to death after pushing so hard against the rope that it cut into him. Despite George’s failure, Tom insists, “We can’t stop trying” (71).
In the earlier timeline, Felix makes his way to the well to fill buckets with water as Jules guides him from the doorway and Cheryl monitors their progress from inside, following protocol. As he fills the first two buckets, Felix thinks he hears noises nearby. As he fills the third bucket, he decides that the noise is coming from inside the well; he wonders if the bucket is heavier as he lifts it. After bringing the bucket to the surface, he feels only water inside, but he suddenly hears a sound like wet feet on the grass. Leaving the bucket, he runs back into the house, falling several times. He and the others feel to make sure nothing came in with them before removing their blindfolds. At Tom’s suggestion, they reinforce the window coverings throughout the house.
In the later timeline, Malorie recalls a line from a parenting book she read: “Your baby is smarter than you think” (81). She recalls an occasion when she thought there was an intruder in the house, but it turned out to be the Boy, who escaped from his locked crib. Malorie hopes the children are smart enough to deal with what lies ahead.
In the earlier timeline, the housemates spend the night together in the living room. In the morning, they debate whether to drink the water from the first two buckets Jules filled. Tom convinces the others to lock him in a room, out of caution, and let him sample the water. He does so without any ill effects. They return to normal activity.
In the later timeline, the Boy hears something moving on the riverbank to their left. They pause to listen, and the boat hits the bank, stopping. As Malorie tries to push off, she hears the growling of wolves. One of them slashes her shoulder, causing her to bleed. As some of the wolves attempt to board the boat, Malorie manages to free it; the children are frightened but okay.
In the earlier timeline, Olympia and Malorie worry together about giving birth in a few months’ time.
About two weeks after the incident at the well, Tom announces his intention to go looking for guide dogs, who could warn of danger. Don objects, suggesting it’s better to wait for help. They put it to a vote, and Tom wins. Jules offers to accompany him. The next day, Jules and Tom put on makeshift helmets and pack bags for their journey, which they expect to take 12 hours. They leave.
Events in these chapters lay the groundwork for Malerman’s examination of The Fragility of Civilization. Malorie’s internal debate and confusion about what to call the creatures emphasizes their socially destructive nature, as she considers terms such as “barbarian,” “rogue,” “savage,” and “villain,” though she doesn’t find any of these terms to fit perfectly (52). Meanwhile, her and the children’s encounter with the man on the boat and the pack of wolves both emphasize the unordered nature of the post-apocalyptic world they live in, where human relationships are strained, and where wild animals move unrestricted. In the later timeline, the death of the last radio host parallels the wider collapse of communication networks bind society together on a macro level. The safe house becomes a remnant or outpost of civilization, with their voting-based decision-making system a relic of democracy. This transition to dated survival tactics is highlighted by the housemates’ use of the well to retrieve water, reliance on guide dogs for safety and hunting for supplies, and Malorie’s and Olympia’s concerns with delivering their children with no medical assistance.
These chapters also see Malerman lean into horror fiction conventions. Throughout the novel, Malerman adopts a third person point of view with a narrator who knows the thoughts of the various characters, though Malorie’s perspective receives the most attention. In the scene at the well in Chapter 13, Malerman reveals Felix’s thoughts, marked in italics, as when he identifies the source of the sound: “Something moved. Something moved in the water. Did something move in the water? (77). Though Malerman’s narration is omniscient in its exploration of characters’ thoughts, Malerman stops short of revealing any details of what is happening beyond those available to Felix himself. Readers are thus trapped in Felix’s perspective, following his panicked, fragmented thoughts, providing an immersive and chilling reading experience.
This experience is also highlighted when Malorie and others encounter the unknown. As Malorie encounters the man on the river, tension blooms within the narrative as she instructs the children to stay in the boat. Like Felix’s thoughts at the well, Malorie thinks about what’s happening, and how the man will hurt them if she lets him near her and the children. She frantically scrambles for control over the situation as she panics that the man has trapped them on the water. The panic is contrasted with the intentional calm the housemates try to promote in the earlier timeline, making each moment of normalcy a fragile balance within the narrative.
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